Join Deke McClelland for an in-depth discussion in this video Creating texture-specific bump maps, part of Photoshop CS5 Extended One-on-One: 3D Objects.
In this exercise I am going to show you how to create a bump map that exactly matches the diffuse texture and then how to apply the bump maps to each and every one of the surfaces of this cube. We're going to start things off with the diffuse texture that's associated with this topside which is Big Garamond X as you may recall. Press the D key in order to ensure that the foreground color is black and the background color is white. That may go ahead and automatically change the color of the letter if the letter is selected here inside the Layers panel, if not, then select the layer and then press Alt+Backspace or Option+Delete to fill it with black because as you may recall from the previous chapter where a bump map is concerned, black indicates a valley in the surface and white indicates the high points.
Now we need to create as much contrast inside of this file as possible, meaning it needs to be set against a white background. I'm going to create a new layer by pressing Ctrl+Shift+N or Command+Shift+N on the Mac to bring up the New layer dialog box, and then I'm just going to click OK. We don't care what the name of the layer is because as soon as you go up to layer menu, choose New and then choose Background From layer, Photoshop will automatically fill it with the background color, white, and it will rename the layer Background. Now I want you to Shift+Click on the X layer so that both the Background and X are selected and then go to the Layers panel flyout menu and choose Convert to Smart Object or if you loaded dekeKeys, you can press Ctrl+Comma or Command+Comma on the Mac and that goes ahead and combines those layers together inside of a Smart Object so we can now apply a smart filter.
Specifically go up to the Filter menu, choose Blur and choose Gaussian Blur which I've given a keyboard shortcut of Shift+F7 for what that's worth and I want you to dial-in a radius value of 24 pixels. This will create a sloping side inside the letters. Go ahead and click OK. Now blurring is a bidirectional operation meaning that you're creating gray pixels outside and inside the letter. We want to keep the gray pixels inside the letter. So you need to go over to the little slider icon to the right of Gaussian Blur here inside the Layers panel, double-click on it to bring up the Blending Options and change the mode from Normal to Lighten.
Lighten is what we need here to make sure we're only lightening with this blurring effect. Then click OK and that goes ahead and keeps our new gray pixels inside the letter. I don't need this filter mask. So I'll go ahead and right-click on it and choose Delete Filter Mask, and then finally, just to make sure everything matches up the way it should, you'd go to the Image menu, choose Image Rotation, and then choose 90 degrees CCW because as you may recall that ensures that the X is at the right angle. Let's go back to our composition in progress.
I've already made bump maps for each and every one of these letters in advance using that technique I just showed you. So let's go ahead and load them on up by double-clicking on a 3D object thumbnail here in the Layers panel, and then I'm going to click on top material which is the material for the X and I'll click on the folder to the right of the word bump there and I'll choose Load Texture. Scroll down the list here inside once again the 08_3D_shapes folder and load the file called X Bump map.psd, click the Open button. That's going to create a little bit of a divot and it's going to reinitiate the ray tracing, don't want that, so I'll press the Escape key because otherwise we're going to be ray tracing every one of these steps.
I'll click on scene there at the top of list and change Quality from Ray tracing to Interactive. Now let's return to top material. Notice that we have a very slight valley going on here. That's because the bump value is set to 0. I am going to max it out by raising that bump value to 10. That's as high as you can go with the bump value. Notice that we now have much deeper grooving going on. I'm going to switch to the back material which is the material for Y and I'm going to raise that bump value in advance to 10 and then click on that little folder icon, choose Load Texture, scroll down to the bottom of the list here, click on Y bump map.psd and click the Open button and that will go ahead carve in the Y, and then I'll click on right material which is the material we determined for Z, raise the Bump value to 10, click on the folder icon, choose Load Texture.
Go ahead and find that file called Z bump map.psd at the bottom of the list. Click Open and that goes ahead and applies the bump map to the letter Z and you can see that each and every one of these bump maps is exactly matching the letters that is the diffuse textures. Having done that let's go back up to Scene and change that quality setting back to Ray Traced Draft so that we can create the final ray tracing of this cube, because the underlying 3D cube is now complete. We are going to add a few 2D effects as you will see, and we are also going to add another 3D object on an independent layer to create a kind of shine effect, but that's coming in the future exercise.
For now we're going to go ahead and speed up this ray tracing. All right, so that completes the 3D object as well as the Bump maps and in next exercise I am going to show you how to bevel the edges of this 3D object using a couple of 2D layers and a vector mask.
- Spinning a 2D layer in 3D space
- Using basic 3D shapes
- Importing a 3D model as an OBJ file
- Exporting a 3D model to the DAE format
- Painting directly on a 3D layer
- Working with UV overlays
- Making a bump map
- Working with 3D depth maps
- The medical applications of Photoshop 3D
- Creating 3D motion effects
- Revolving objects in 3D space
- Adjusting the depth of field